Gianni Cipriano Photography | Archive

  • Archive
    • All Galleries
    • Search
    • Cart
    • Lightbox
    • Client Area
  • About
  • Contact
  • PORTFOLIO
  • Facebook
  • Twitter
x

Search Results

Refine Search
Match all words
Match any word
Prints
Personal Use
Royalty-Free
Rights-Managed
(leave unchecked to
search all images)
Next
2207 images found
twitterlinkedinfacebook

Loading ()...

  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018:  Sergio Cozzaglio drives his Piaggio Van loaded with harvesting tools down to the  Villa Romana olive grove, in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018. <br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.<br />
<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably
    SMAS_20181128_SAVEUR-LakeGarda_DSCF7...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait in front of "Carpet with the arms of one of Sultan Qa'it Bay's emirs", manufactured in Mamluk workshop in Cairo in the quarter of the 15th century, here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_153...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A volunteer is seen here cleaning up the prayer hall of the Mosque of Florence, hosted in a former parking lot, here in Borgo Allegri in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_121...jpg
  • FLORENCE, ITALY - 28 JULY 2018: (L-R) "Portrait of Mehmet II" (16th century) by Florence artist Cristofano dell'Altissimo, and "Medal with a portrait of Mehmet II" (1480) by Florence artist Beroldo di Giovanni, are seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_089...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Albarello vases, enamelled ceramic with the symbol of Florence and manufactured in Syria in the 15th century, are seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_087...jpg
  • FLORENCE, ITALY - 28 JULY 2018: "Carpet with the arms of one of Sultan Qa'it Bay's emirs", manufactured in Mamluk workshop in Cairo in the quarter of the 15th century, is seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_083...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Arabic insciptions are seen on the nimbus of the statue of "The Young St. John the Baptist" (1477) by scluptor Antonio Gambarelli known as Rossellino, here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_073...jpg
  • FLORENCE, ITALY - 29 JULY 2018: A view of Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_162...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait here at the entrance of the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_158...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait here at the entrance of the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_157...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait here at the entrance of the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_157...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_156...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_154...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_154...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait in front of "Carpet with the arms of one of Sultan Qa'it Bay's emirs", manufactured in Mamluk workshop in Cairo in the quarter of the 15th century, here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_153...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait in front of "Carpet with the arms of one of Sultan Qa'it Bay's emirs", manufactured in Mamluk workshop in Cairo in the quarter of the 15th century, here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_152...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait in front of two carpets manufactured in Cairo (Egypt) in the 16th century, here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_147...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A banner promoting  the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery is seen here in the historical center of Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_145...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A banner promoting  the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery is seen here in the historical center of Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_139...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Izzedin Elzir, Imam of the Mosque of Florence, poses for a portrait in the prayer hall of the Mosque in Florence, Italy, on July 28th 2018. The Mosque of Florence is hoted in a former parking lot of Borgo Allegri.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_135...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Izzedin Elzir, Imam of the Mosque of Florence, poses for a portrait in the prayer hall of the Mosque in Florence, Italy, on July 28th 2018. The Mosque of Florence is hoted in a former parking lot of Borgo Allegri.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_131...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Izzedin Elzir, Imam of the Mosque of Florence, poses for a portrait in the prayer hall of the Mosque in Florence, Italy, on July 28th 2018. The Mosque of Florence is hoted in a former parking lot of Borgo Allegri.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_130...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Izzedin Elzir, Imam of the Mosque of Florence, poses for a portrait in the prayer hall of the Mosque in Florence, Italy, on July 28th 2018. The Mosque of Florence is hoted in a former parking lot of Borgo Allegri.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_128...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Izzedin Elzir, Imam of the Mosque of Florence, poses for a portrait in the prayer hall of the Mosque in Florence, Italy, on July 28th 2018. The Mosque of Florence is hoted in a former parking lot of Borgo Allegri.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_128...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Izzedin Elzir, Imam of the Mosque of Florence, poses for a portrait in the prayer hall of the Mosque in Florence, Italy, on July 28th 2018. The Mosque of Florence is hoted in a former parking lot of Borgo Allegri.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_126...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Izzedin Elzir, Imam of the Mosque of Florence, poses for a portrait in the prayer hall of the Mosque in Florence, Italy, on July 28th 2018. The Mosque of Florence is hoted in a former parking lot of Borgo Allegri.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_126...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Izzedin Elzir, Imam of the Mosque of Florence, poses for a portrait on the minbar (pulpit) of the Mosque in Florence, Italy, on July 28th 2018. The Mosque of Florence is hoted in a former parking lot of Borgo Allegri.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_124...jpg
  • FLORENCE, ITALY - 28 JULY 2018: The interior of the prayer hall of the Mosque of Florence, hosted in a former parking lot, in Borgo Allegri, Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_123...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Shoes and sandals are left here at the entrance of the prayer hall of the Mosque of Florence, hosted  in a former parking lot, in Borgo Allegri in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_122...jpg
  • FLORENCE, ITALY - 28 JULY 2018: The minbar (pulpit)  is seen here in the prayer hall of the Mosque of Florence, hosted in a former parking lot in Borgo Allegri in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_122...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A volunteer is seen here after opening the doors of the prayer hall of the Mosque of Florence, hosted in a former parking lot, here in Borgo Allegri in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_120...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A volunteer opens the portcullis of the Mosque of Florence, hosted in a former parking lot, here in Borgo Allegri in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_118...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A view of the Arno river and Ponte Vecchio seen from the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_115...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A stiffed giraffe, sent alive as a gift in 1487 by Qa'it Bay, the Mamluk Sultan of Egypt, to Lorenzo the Magnificient, is seen here at the entrance of  the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_112...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A stiffed giraffe, sent alive as a gift in 1487 by Qa'it Bay, the Mamluk Sultan of Egypt, to Lorenzo the Magnificient, is seen here at the entrance of  the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_106...jpg
  • FLORENCE, ITALY - 28 JULY 2018: The entrance of the exhibition "Islamic Art and Florence from the Medici to the 20th century" is seen here at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_105...jpg
  • FLORENCE, ITALY - 28 JULY 2018: The entrance of the exhibition "Islamic Art and Florence from the Medici to the 20th century" is seen here at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_103...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A visitor is seen here in the Ottoman section of the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_103...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A printed edition of the "Kitab Tahrir usul li-Uqlidis", a translation of Euclid's Elementa Geometrica attributed in the Arabic title to Nasir al-din Tusi, printed tby the Medici Typograpy in the 16th century in Rome, is seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_098...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Portraits of 16th century Florence artist Cristofano dell'Altissimo (clockwise, starting upeer-left): Suleyman the Magnificient, Roxelana, Hayreddin Barbarossa, Sultan Cem, are seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_095...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A turkis child's kaften, manufactured in Turkey in the late 17th century with Italian silk textile, is seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_091...jpg
  • FLORENCE, ITALY - 28 JULY 2018: "Portrait of Qa'it Bay" (second half of 16th century), by Florence artist Cristofano dell'Altissimo, is seen here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_082...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Carpets manufactured in Cairo (Egypt) in the 16th century are seen here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_078...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Carpets manufactured in Cairo (Egypt) in the 16th century are seen here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_077...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A stiffed giraffe, sent alive as a gift in 1487 by Qa'it Bay, the Mamluk Sultan of Egypt, to Lorenzo the Magnificient, is seen here at the entrance of  the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_068...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A stiffed giraffe, sent alive as a gift in 1487 by Qa'it Bay, the Mamluk Sultan of Egypt, to Lorenzo the Magnificient, is seen here at the entrance of  the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_068...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A stiffed giraffe, sent alive as a gift in 1487 by Qa'it Bay, the Mamluk Sultan of Egypt, to Lorenzo the Magnificient, is seen here at the entrance of  the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_066...jpg
  • FLORENCE, ITALY - 29 JULY 2018: A view of Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_161...jpg
  • FLORENCE, ITALY - 29 JULY 2018: A view of Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_160...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait in front of two carpets manufactured in Cairo (Egypt) in the 16th century, here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_148...jpg
  • FLORENCE, ITALY - 29 JULY 2018: Eike Schmidt, Director of the Uffizi Gallery, poses for a portrait in front of two carpets manufactured in Cairo (Egypt) in the 16th century, here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 29th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180729_NYT_IslamUffizi_M3_147...jpg
  • FLORENCE, ITALY - 28 JULY 2018: "Barbary Moor (with Giraffe), a 17th century watercolour on paper by artist Jacopo Ligozzi, is seen here next to the stiffed giraffe, sent alive as a gift in 1487 by Qa'it Bay, the Mamluk Sultan of Egypt, to Lorenzo the Magnificient, is seen here at the entrance of  the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_113...jpg
  • FLORENCE, ITALY - 28 JULY 2018: "Kitab al-Asrar fi nata'ij al-afkar" (Book of secrets in the results of ideas), copied by Ahmad ibn Khalaf al-Muradi, is seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_097...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Detail of a cruciform table carpet, manufactured in an Ottoman workshop in Cairo in the first of the 16th century, is seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_093...jpg
  • FLORENCE, ITALY - 28 JULY 2018: "Carpet with the arms of one of Sultan Qa'it Bay's emirs", manufactured in Mamluk workshop in Cairo in the quarter of the 15th century, is seen here in the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_085...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A 15th century Egyptian parade jacket (Brigandine) is seen here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_081...jpg
  • FLORENCE, ITALY - 28 JULY 2018: Carpets manufactured in Cairo (Egypt) in the 16th century are seen here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_078...jpg
  • FLORENCE, ITALY - 28 JULY 2018: A dress adorned with arabesque motifs is seen here in "Portrrait of Eleonora da Toledo and her son Garzia" (1545) by artisti Lorenzo Vaiani known as Sciorina, here at the exhibition "Islamic Art and Florence from the Medici to the 20th century" at the Uffizi Gallery in Florence, Italy, on July 28th 2018.<br />
<br />
"Islamic Art and Florence from the Medici to the 20th century”, curated by Giovanni Curatola and organised by the Uffizi  offers visitors the opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. The exhibition illustrates the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries.<br />
<br />
According to Eike Schmidt, the Director of the Gallerie degli Uffizi, "the exhibition not only highlights the interest in Islamic culture that was strongly rooted in Medici collectintg and that continued well into the modern era, but it also testifies to the unprejudiced aesthetic fascination with the Orient that has always permeated European art. At the same time, it draws our attention to the crucial importance of trade, but primarily of intellectual and human exchange, in the Mediterranean basin and beyond as a means of enrichment and of peace".
    CIPG_20180728_NYT_IslamUffizi_M3_076...jpg
  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018: A bottle of Villa Romana olive oil, produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta), is seen here in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018.<br />
<br />
Villa Romana won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.Villa won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or v
    CIPG_20181128_SAVEUR-LakeGarda_M3_09...jpg
  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018: A bottle of Villa Romana olive oil, produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta), is seen here in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018.<br />
<br />
Villa Romana won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.Villa won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or v
    CIPG_20181128_SAVEUR-LakeGarda_M3_09...jpg
  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018:  Sergio Cozzaglio drives his Piaggio Van loaded with harvesting tools in the  Villa Romana olive grove, in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018.<br />
<br />
The Villa Romana olive variety is grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here).<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016. <br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive v
    CIPG_20181128_SAVEUR-LakeGarda_M3_99...jpg
  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018: A woman sists on a bench at sunset on the lakefront in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181128_SAVEUR-LakeGarda_DSCF7...jpg
  • TOSCOLANO MADERNO, ITALY - 29 NOVEMBER 2018: A view of Lake Garda and Monte Baldo, a mountain range in the Italian Alps, in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_19...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_19...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_19...jpg
  • TOSCOLANO MADERNO, ITALY - 29 NOVEMBER 2018: A view of Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_12...jpg
  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018:  Sergio Cozzaglio, founder of La Zadruga, harvests the Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018. <br />
<br />
The hydraulic wand has vibrating fingers that send the fruit tumbling from the branches into mats on the ground. The Villa Romana olive variety is grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here).<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every yea
    CIPG_20181128_SAVEUR-LakeGarda_M3_93...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018: Ilaria Galetta, co-owner of La Zadruga with her husband Sergio Cozzaglio, poses for a portrait by a Negrel olive tree, in their land in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181128_SAVEUR-LakeGarda_M3_08...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018: A Gargnà olive tree is seen here in Sergio Cozzaglio's land in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181128_SAVEUR-LakeGarda_M3_06...jpg
  • RIVA DEL GARDA, ITALY - 27 NOVEMBER 2018: Olive oil is stored into stainless bins after being processed by the machines of Domus Olivae, a state-of-the-art olive mill in Riva del Garda, a northern town on the northern shore of Lake Garda, Italy, on November 27th 2018. Domus Olivae uses the latest technology in which olives crushed by stainless-steel grinders produce a paste that is then whirled in a centrifuge, yielding a clear oil that expresses the intense flavors of the fruit. <br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181127_SAVEUR-LakeGarda_M3_86...jpg
  • RIVA DEL GARDA, ITALY - 27 NOVEMBER 2018: Domus Olivae, a state-of-the-art olive mill in Riva del Garda, a northern town on the northern shore of Lake Garda, Italy, on November 27th 2018. It uses the latest technology in which olives crushed by stainless-steel grinders produce a paste that is then whirled in a centrifuge, yielding a clear oil that expresses the intense flavors of the fruit. <br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181127_SAVEUR-LakeGarda_M3_83...jpg
  • RIVA DEL GARDA, ITALY - 27 NOVEMBER 2018: Domus Olivae, a state-of-the-art olive mill in Riva del Garda, a northern town on the northern shore of Lake Garda, Italy, on November 27th 2018. It uses the latest technology in which olives crushed by stainless-steel grinders produce a paste that is then whirled in a centrifuge, yielding a clear oil that expresses the intense flavors of the fruit. <br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181127_SAVEUR-LakeGarda_M3_82...jpg
  • 28 July, 2008. Harlem, New York. The "liberators" of the National Black Theater carry the casket of Barbara Ann Teer down the stairs for the  procession. The procession starts at the National Black Theater in Harlem and ends at the Riverside Church, where the service will take place. Barbara Ann Teer, born in 1937 and Founder and CEO of the National Black Theater, died on Monday July 21st of natural causes, said her daughter Safe Lythcott. She was 71. in 1967 Barbara Ann Teer left behind a her career as a dancer and actor who appeared frequently in New York productions, on Broadway and off. Tired of being offered stereotypical roles by white producers and became an advocate for black artists and a black culture independent of the white-dominated mainstream. In 1968 she founded the National Black Theater, an institution dedicated to the performing arts, community, advocacy and the appreciation, of the history and lifestyle of black Americans. The building is located on 125th street and 5th avenue, in Harlem, New York. <br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +39 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    funeral026.jpg
  • 28 July, 2008. Harlem, New York. The "liberators" of the National Black Theater carry the casket of Barbara Ann Teer down the stairs for the  procession. The procession starts at the National Black Theater in Harlem and ends at the Riverside Church, where the service will take place. Barbara Ann Teer, born in 1937 and Founder and CEO of the National Black Theater, died on Monday July 21st of natural causes, said her daughter Safe Lythcott. She was 71. in 1967 Barbara Ann Teer left behind a her career as a dancer and actor who appeared frequently in New York productions, on Broadway and off. Tired of being offered stereotypical roles by white producers and became an advocate for black artists and a black culture independent of the white-dominated mainstream. In 1968 she founded the National Black Theater, an institution dedicated to the performing arts, community, advocacy and the appreciation, of the history and lifestyle of black Americans. The building is located on 125th street and 5th avenue, in Harlem, New York. <br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +39 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    funeral023.jpg
  • 27 July, 2008. Harlem, New York. Viewing of the corpse of Barbara Ann Teer at the National Black Theater in Harlem. Barbara Ann Teer, born in 1937 and Founder and CEO of the National Black Theater, died on Monday July 21st of natural causes, said her daughter Safe Lythcott. She was 71. in 1967 Barbara Ann Teer left behind a her career as a dancer and actor who appeared frequently in New York productions, on Broadway and off. Tired of being offered stereotypical roles by white producers and became an advocate for black artists and a black culture independent of the white-dominated mainstream. In 1968 she founded the National Black Theater, an institution dedicated to the performing arts, community, advocacy and the appreciation, of the history and lifestyle of black Americans. The building is located on 125th street and 5th avenue, in Harlem, New York. The funeral service will take place on Monday July 28th at the Riverside Church in Harlem.<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +39 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    funeral005.jpg
  • LIMONE SUL GARDA, ITALY - 29 NOVEMBER 2018: A view of Lake Garda from Limone sul Garda, a village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181129_SAVEUR-LakeGarda_DSCF7...jpg
  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018: A tree by a jetty on Lake Garda in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181128_SAVEUR-LakeGarda_DSCF7...jpg
  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018: Lake Garda shore in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181128_SAVEUR-LakeGarda_DSCF7...jpg
  • TOSCOLANO MADERNO, ITALY - 28 NOVEMBER 2018: Lakefront of  Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 28th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181128_SAVEUR-LakeGarda_DSCF7...jpg
  • GARGANO, ITALY - 27 NOVEMBER 2018:  A road along a hillside olive grove in Gargnano, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181127_SAVEUR-LakeGarda_DSCF7...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181127_SAVEUR-LakeGarda_DSCF7...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181127_SAVEUR-LakeGarda_DSCF6...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181127_SAVEUR-LakeGarda_DSCF6...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    SMAS_20181127_SAVEUR-LakeGarda_DSCF6...jpg
  • TOSCOLANO MADERNO, ITALY - 29 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181130_SAVEUR-LakeGarda_M3_21...jpg
  • TOSCOLANO MADERNO, ITALY - 29 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181130_SAVEUR-LakeGarda_M3_21...jpg
  • TOSCOLANO MADERNO, ITALY - 29 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181130_SAVEUR-LakeGarda_M3_20...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018: A Gargnà olive tree is seen here in Sergio Cozzaglio's land in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_20...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018: A Gargnà olive tree is seen here in Sergio Cozzaglio's land in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_20...jpg
  • TOSCOLANO MADERNO, ITALY - 29 NOVEMBER 2018: A view of Lake Garda and Monte Baldo, a mountain range in the Italian Alps, in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_19...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_19...jpg
  • TOSCOLANO MADERNO, ITALY - 27 NOVEMBER 2018:  The Villa Romana olive variety, grown amidst the first century AD ruins of the residence of the Nonni Arrii (an upper-class Roman family who lived here), is seen here  in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 27th 2018. <br />
<br />
Villa Romana became  an olive oil produced by La Zadruga (founded by Sergio and his wife Ilaria Galetta). It won the highest possible accolade—three green leaves, denoting absolute excellence—in the prestigious Gambero Rosso guidebook to the best olive oils in Italy. The Villa Romana is pressed from a cultivar, or variety, of olive that was unknown to modern science until 2016<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_18...jpg
  • LIMONE SUL GARDA, ITALY - 29 NOVEMBER 2018: A view of Lake Garda from Limone sul Garda, a village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_18...jpg
  • LIMONE SUL GARDA, ITALY - 29 NOVEMBER 2018: A view of Lake Garda from Limone sul Garda, a village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_17...jpg
  • LIMONE SUL GARDA, ITALY - 29 NOVEMBER 2018: Olive and palm trees are seen here on a hillside grove in Limone sul Garda, a village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_17...jpg
  • LIMONE SUL GARDA, ITALY - 29 NOVEMBER 2018: Olive and palm trees are seen here on a hillside grove in Limone sul Garda, a village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_17...jpg
  • LIMONE SUL GARDA, ITALY - 29 NOVEMBER 2018: An olive tree is seen here on a hillside grove in Limone sul Garda, a village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_17...jpg
  • LIMONE SUL GARDA, ITALY - 29 NOVEMBER 2018: An olive tree is seen here on a hillside grove in Limone sul Garda, a village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_17...jpg
  • MANERBA DEL GARDA, ITALY - 29 NOVEMBER 2018:  A view of olive groves Manerba del Garda, a northern town on the southern shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_17...jpg
  • MANERBA DEL GARDA, ITALY - 29 NOVEMBER 2018: in Toscolano Maderno, a northern village on the western shore of Lake Garda, Italy, on November 29th 2018.<br />
<br />
Lake Garda, Italy’s largest lake, is an odd micro-biome of Mediterranean olive-oil culture in the midst of frost-prone, butter-oriented Lombardy. Though its northern extreme is at the same latitude as Fargo, North Dakota, Garda’s shores are girded by lemon and palm trees, as well as olive orchards, which climb the hillsides that surround the lake to heights of 1,500 feet. Lake Garda, overlooked by the Dolomites, snowcapped in early winter, is the northernmost point in the world where olives can be reliably cultivated. Lake Garda, where there is a record of uninterrupted cultivation since the thirteenth century, has a reputation for producing delicate, mild-flavored oils that has pleased more conservative northern European palates since the Renaissance.<br />
In contrast to Spain, France, and Greece, where a few star cultivars dominate production, Italy, with its multiplicity of soils and microclimates, has always been the Amazonian rainforest of olive biodiversity. Every year, the fruit from 179 million trees—three for every man, woman, and child in the nation—is gathered by 825,000 separate cultivators, to be pressed in 4,900 mills. At last count, there were 530 distinct olive varieties in Italy.
    CIPG_20181129_SAVEUR-LakeGarda_M3_13...jpg
Next